the bettajive review #1

Welcome everyone, to our new online magazine.There are some reading this who will have read our monthly column in UK Rock n Roll Magazine, but for those who haven’t, here’s some background.Both of June and I, were around in what is currently referred to as the ‘Revival’ in the late seventies and early eighties.And indeed, like many around our age, we had a hiatus, away from the scene, returning later.The revival then, what’s that?Well folks, in the early to mid-seventies, we had bands like Mud, Sweet, T-Rex and Slade, in the ‘Hit Parade’. They were largely described as ‘Glam Rock’.The fashion for guys and gals was loon pants and flares, with shoulder length hair.The adults disapproved ‘Get yer ‘air cut y’long ‘aired layabout’.Then suddenly, there was an almighty racket that was called punk rock.What a bloody cacophony I thought, as a lot of my contemporaries started pogo-ing around the playground (not on sticks!Ask your parents, kids).

My introduction to Rock n Roll music from the ‘50s was my parent’s (please note mum Smith, this is your inclusion!) 78rpm of ‘Rock Around the Clock’ and some Everly Brothers’ singles and LPs, plus a cassette tape of Bill Haley music.Also, at around ten years old, having eaten my own body weight in corn flakes, I’d got enough tokens to obtain ‘Story of Pop’, an LP compilation that had two records, from around ’56 to ’71.Record one was my favourite, apart from the snore fest that was ‘To Know Him is to Love Him’.Even at that age, I didn’t care about Donovan trying to ‘Catch the Wind’ or Jethro Tull’s ‘Witches Promise’, or Desmond Decker singing about the ‘Israelites’, it was the Rock n Roll sound for me.​

There were a few Teds in my home town, they looked sharper than the ripped trouser and safety pin look of the punks, so that’s what I wanted to be like.In those days you were kind of pigeon holed by the music you liked and the subculture you were part of.In my town there were groups of Teds, punks, skinheads, mods, rockers, soul boys and normals (whatever that meant).We were colourful, walking in groups like a box of Dolly Mixtures (other confectionary consisting of multi-coloured fondant shapes, such as cubes and cylinders, with subtle flavourings, are available), bright drapes and fluorescent socks, basically walking ocular migraines. Then ‘Rockabilly Rebel’ by Matchbox came out which was a gamechanger.

June with Robert and Angela at Ted's Corner

Different clothes and something called ‘Rockabilly’.Ice Blue Jeans that were pretty much spray on, they were so tight, cardigans of various colours and chukka/winkle picker boots.Not chukka or winkle picker shoes, oh no, BOOTS dagnabit!Records had Rockabilly in the title, ‘Rockabilly Dynamite’ ‘Rare Rockabilly’.‘Oh no’ we said at the youth centre, wagging fingers at detractors, ‘Not just Rockabilly, but RARE Rockabilly’.Webb Pierce’s ‘Teenage Boogie’ gave us something to chant to, as well as dance to.Something to stand outside of municipal buildings with one fist raised.Although we couldn’t do that, as the caretaker of our local offices, in bib and braces with a roll up and a set of jangley keys, would’ve told us to ‘B*gger off’ cos he knew where we lived.​

No Youtube, no internet, not even video.If you wanted to find a rocking record you had to take a punt, that the section in the record shop was actually what it said it was.How many have bought records that have sat at the back of the collection because it turned out to be some wishy-washy version of a track masquerading as a Rockabilly song? *points to self*Weekenders were few and far between, just Caistor as I recall, finally loads of like-minded souls, much the same as local gigs.The tickets were white with a coloured trim and serrated edge like they had been cut with pinking shears.£1.20-£1.50 for a band night or 30p for a record hop, and out to the town for fifteen pence worth of chips and a battered sausage.Fast forward the early days of the internet, cripes kids, you won’t have even heard of this, when we had ‘dial up’, there came the groups.Dial up, I can’t help but touch on that.When the phone line was tied up while you were on the internet.The irate ‘Get off the ‘net, we’re trying to phone you’ email from someone trying to get through to have a conversation.The twenty minutes it took to download anything, and then have it fail, with thirty seconds to go.Oh. the romance of it all readers.Anyway, at the turn of the millennium, there was a myriad of different community groups you could join.

Sugardolls now on Facebook

Around 2002, I came across Sugardoll’s Diner, a MSN group of like-minded souls set up by Emma 'Sugardoll' from the North East of the UK.Even though there were no massive galleries full of pics, friendships were formed on there that remain to this day.It was social media in it’s earlier form if you will.At the time, I mainly went out in my home, (and God’s own) county of Essex, and in particular the monthly club in Witham known as the Jukebox Club.They were top nights out, and I started to post little reviews on the MSN group the next day.Soon it became a habit, wherever the venue.As we were all basically anonymous, it was a number of months until Julie Hammond, who ran the Jukebox, tumbled who was uploading nice reviews of her club.From there I was encouraged to join the newly launched UK Rock title.That was a national Rock n Roll Magazine, that had come from the A5 freebie Southern Rock, which unsurprisingly, I’d had access to in clubs around here.The first couple of articles were rather clumsily titled R-O-C-K Essex, although it was clear back then, some months gigs were further afield.Then, after a couple of months, was born, the Bettajive Review.

Me and Emma 'Sugardoll' at the Rhythm Riot (pic June Smith)

Where did the name come from then, asked nobody in the world ever ever.Well it’s a combination of cleverly arranged puns and nods to pass times.It was suggested that the name was a rather egotistical swipe at other dancers, in short ‘better jiver’.Well, as the accuser didn’t have the vocabulary to express themselves with such clarity, you can guess I’ve paraphrased.The survey says ‘E-err!No it’s a combination of the fish I’ve kept, Bettas, and favourite dance, jive.Or you could say, it’s a great song, you ‘betta jive’ to it, in a down wit da kids street stylie.Whatever tickles your pickle.In the reviews, there’s the ‘Dot…dot’ segment.This is a section of little snippets of info or happenings around the Rock n Roll scene.None of which should be taken too seriously I might add.Heading that is the return of the ‘Best tracks in the world ever ever’, usually three records that have stirred our souls over the month, and lower down you’ll see the first of them.Then there’s the gig reviews.Gigs and events, we’ve been to over the month between issues.A little difficult for this first issue as since the Rockabilly Rave, we’ve had flu, moved house been to a wedding and a 75th birthday party.Now I’m not going to review someone’s wedding am I?We will advance one gig however

Dot….dot Best tracks in the world ever ever to grease your gearstick for this month are The Five Keys’ ‘Boom Boom’, Jerry Lee Lewis ‘Bonnie B’ and ‘Lovemaking’ by Gene Maltais…..Vinyl is back, many groups are recording on vinyl 7 and 12”, and even ten inch, as the Hicksville Bombers’ Dave Brown willingly tells you.Will other mediums make a comeback on the back of that?Cassette tapes, mini disc, 8-track.Just think, you’ll have to dig out that box of things that might come in handy to find the machine to play them on……Shakedown, wet, Atomic, Rock Ridge Round Up & Hillbilly Hoedown, wet, Rock Ridge Rumble, dry-ish until it ended with a monsoon.Who’d have thunk it with the weekdays so hot and dry……As announced on our Bettajive Review Facebook, Instagram and Twitter sites during the week, it’s great to see that the Bellfuries are reforming just for the Rockabilly Rave 2020…….While researching a song from a CD we were reviewing, I came across a top drawer Cajun rocker ‘Midnight Blues’ by Cleveland Crochet and his Hillbilly Ramblers.Squeezebox-tastic readers………

Miss Mary and the Mister Rights

Rock-rock-ola. It’s been an age since we last went to RockOla Rock n Roll club on Canvey Island in Essex.So when they announced they were getting our mate Miss Mary along with her band, the Mister Rights down for an evening gig, we made sure we got down there too.Sometimes we use the expression, ‘people came from far and wide’, well in this case the band did.Kenny Tomlinson started out from Edinburgh at six on Friday morning, meeting with Mary Ann and guitarist Joe Guillan in the Nortjh East on the way down.They had a gruelling nine hour journey down to Essex to meet up with bassist and sound engineer dude, Dave Raven, drummer Clive Crissel and new to us, from Junction 55, Gary Howard on keyboard.For that effort is was good also to see a decent sized crowd in through the doors.DJ for the evening, and the resident DJ, was Rockin’ Ralph who played everything from Johnny Horton to Alan Jackson, all decent dancefloor stuff at RockOla.And breathe, time for the band’s first set, having had about twenty minutes to turn themselves around, opened up with the Hank Williams composition from 1947, in a Rose Maddox style, ‘Move It On Over’.Mary Ann’s show can basically be summed up as follows.Think of a brilliant female artist from the 40’s or 50’s, and there you have it.Here’s some examples:- Varetta Dillard, Donna Hightower, Janis Martin, Damita Jo and Lula Reed.Just a few mind, to whet your appetite.

Slideshow below, click on the images for full sized pic

The scolding ‘I Thought I Told You Not To Tell Her’ from Maria Knight, followed by the glorious Varetta Dillard’s ‘Them There Eyes’.Not sure we’ve heard Little Esther Phillips’ ‘Mainliner’ taken on before, this was great, as was the outstanding ‘Mister Blues’ originally by Damita Jo.From the Rockabilly/Country side we had the likes of Patsy Cline’s ‘Gotta Lotta Rhythm’ and Brenda Lee’s ‘Rock the Bop’.Cracking first set, ending with Tiny Topsy’s ‘Aw Shucks Baby’.The second picked up where the first left off, with a floor filling version of ‘Seventeen’ (pick your artist who performed this originally). I have to flag up ‘Back Door Man’.Originally recorded by Vanita Smyth in 1946, this had Mary singing to just Joe playing guitar.It’s not the Howlin’ Wolf song, this is a saucepot of double entendres, such as the lines ““Hangs his hat up in my play room, Starts to weaving upon my loom, He's my idol and I'm his fan, He's my back door man”.I’d not heard this before, and I recommend you look it up, even just to see her fantastic hairstyle.Loving Mary’s version.Time for a slowy, with Janis’ ‘One More Year To Go’ and some country rockin’ with Faron Young’s ‘I’m Gonna Live Some Before I Die’.Cool duet between Mary and Joe of ‘False Hearted Girl’ and time for another Damita Jo classic ‘I Burned Your Letter’.An enormously varied set was topped off by two encores, the standout being Dolly Cooper’s ‘My Man’.A good ‘un at the Paddocks

Interview with Laura BWe were well chuffed to be able to conduct an interview with one of the R&B scene’s most recognisable stars, Laura B.I stopped short of calling her a ‘diva’, however there is a complementary meaning to the word , a ‘celebrated female singer.Readers of past articles will already know we’ve considered her to be a celebrated female singer for some time now.We wanted to ask Laura a whole bunch of questions about her career as a singer,Laura B, you've been at the forefront of the 40's/50's Rhythm and Blues scene for a number of years now. When did it all start for you?I’ve always sang and being a musician is all I’ve ever wanted to do. I started singing in my first band at the age of 15, whilst still at school. We used to do covers of classic roots, rock & blues songs. Whilst at the same time I was listening to early jazz, swing & rhythm and blues, wishing I could be performing that instead. It wasn’t until I was in my early twenties that I hooked up with some really great Trad Jazzers and started performing with them. Singing Bessie Smith, Blue Lu Barker, Ma Rainey tunes. These musicians were all part of the Trad Jazz revival of the 1950s and wonderful players. They encouraged me to emulate Ottilie Patterson, a white girl singing big mama blues. It was the best grounding for me, I learned everything I know working with those guys.

Laura's Grandad's band

Tell us about your introduction to 40s and 50s music, who were your influences?I fell in love with this music as a very young child. My grandfather was a Jazz drummer and was very proud of his vast record collection. This is the first music that I really identified with. Early rhythm & blues is so fresh, exciting and risqué. I love the double entendres. Modern chart music was just tame in comparison. I wanted to be like one of those women telling their man it was time to “get wise”, I wanted to know the thrill of a “tough lover”. When I had my heart broken for the first time the only music that could console me was the voice of Billie Holiday. Women singing freely about their sexuality, is empowering. You learn a lot about sex from these women and how to deal with men! The early R & B women who influence me the most are Wynonna Carr, Erline Harris, Annisteen Allen, Big Maybelle, Ann Cole, Patti Jerome, Ruth Brown, Sister Rosetta Tharpe, Etta James, Odetta, Lavern Baker, Ella Johnson, Keely Smith, Ella Mae Morse, Julia Lee, Little Esther, Nellie Lutcher, Big Mama Thornton & Anita O’Day, to name but a few. There are other music genres that I enjoy but this appeals to me the most.​

First gig

​Do you recall your first performance. How it felt and what you performed?

My first stage performance was at the age of four singing “The Sun Has Got His Hat On” at Orsett Village Hall in Essex. I remember feeling a little bemused that people were watching me and seemed to be enjoying it.I formed my own band, playing roots and 1940/50s Rhythm & Blues originals in my late twenties. It was a natural progression from the Trad circuit. I had met up with some really great musicians; Henri Herbert, Evan Jones & Paul Richardson. Together in 2006 we formed Laura B and the Moonlighters. Our first show was for Simon Selmon at the 100 Club on London’s Oxford Street and we became a big hit with dancers on the swing scene. We moved rapidly from playing small clubs to playing huge festivals in the UK and across Europe. It was a great feeling in those early days. I had waited so long to find people who had the same passion for this genre of music as I did.I’m extremely grateful to all those club/festival promoters who supported us in the early days.

You've performed with the band at some of the most prestigious events. Do you know what the largest crowd was you performed for?

The largest crowds would have to be the times that I’ve played the main stage at the Summer Jamboree in Italy with over 20,000 in attendance. Breda Jazz Festival is another great gig and on the Podium Stage there are around 3000 people watching. One of my favourite shows was when we supported ZZ Top on Tour in France, they are such a well-loved band and there must have been around 10,000 people in the audience. That was a great crowd, they were really buzzing!

Laura on stage at the Big Jive All Dayer (pic June Smith)

​We've been to many of your shows, and have often said, that if 'Saved' by LaVern Baker isn't in the set, it's not a Laura B set. Is there a go to song or songs, that you've always wanted to perform?

Well talking of “Saved" I really want to record a gospel album. That’s the next project after the current album is released. I was a member of a Gospel Choir for quite a few years. It’s my first love and would be my go to style of music to perform. In fact, I am currently curating a Gospel Show for Humdinger 2020 that will feature Charlie Thompson, Raina Brody, Lew Lewis, Miss Rosie, Chilli Bean and myself.

On your last cd, 'While the Goings Good', you recorded some of your own original material. What for you is the song writing process? Melody or words first?

It can be either. Sometimes I dream songs and have to wake in the middle of the night to record a voice demo. I tend to get a lot of ideas whilst doing mundane things like driving. I don’t bring my songs to my band until I have the full structure down melody, hook, and lyrics. I have no fail-safe plan when it comes to song writing and instead let the original inspiration determine my starting point so that the song develops naturally. It’s very difficult to manufacture inspiration. So, it’s a bit of a mystery really, they either come or they don’t.

You have a new cd coming out soon, and we've had a listen to the taster four track CD, of cover songs, what else can you tell us about the upcoming release?Great songs, great groove. We have a nice pick of covers with super arrangements but are still working on original numbers to include, but I think we’re nearly there. Remaining independent allows us complete control over what we do, how much we want to spend, get everything the way we want it. It’s always exciting to get in the studio, a real labour of love. ​

Some events for you to check out, click on the links and you'll be taken to the relevant event page. This issue, being the first, is free for advertisers, we have picked some from around the scene. If you would like to join us to advertise in future issues, please get in touch for our rates. You will get your event out to our 21k plus viewers and readers

If you like what you see, help us keep it free by popping us a donation please using the button below. Thank you

One of the many 45’s that arrived in the post from Flat Top Mark recently, was a super two artist combo featuring the Texabilly Rockets from Lisbon in Portugal and sixties garage outfit Corporate Image.This record is the seventh in the series of Flat Top Mark v/s Simon the Preacher series on FTM Records, and is limited to 270 copies.

This offering ‘Gonna Get Myself a Woman’ is a classically themed Rockabilly bopper, and already making waves on the dancefloors.I can attest to that as the floor was well populated at the Rock Ridge Rumble to this very track.Thundering back beat and searing guitar solos, it’s a beauty.

From Flat Top Mark.Corporate Image, I’ll be honest I know nothing about, other than this reworking ofBuddy Holly’s ‘Not Fade Away’ from 1966 on MGM Records.It certainly is different, heavier and of course has that mid-sixties vibe, benefitting from Mark’s mastering and remixing.

It Feels So Good – Eddie and the Head-StartsCD reviewIt was 2018 at the Rockabilly Rave, when a drumless trio from Paris took to the stage.Lead singer Eddie Gazel, strumming the acoustic guitar, backed by seasoned and talentedmusicians, Thibaut Chopin on upright bass and Stephane Beaussart pickin’ the lead guitar.Together they produced a really authentic, and full sound, that went down a treat with the crowd.Since then, a 45rpm release, and now on Rhythm Bomb Records, a full long player.First up, we have a cover of Lloyd Harp and his Hoosier Rhythm Boys 1960 jaunt ‘Slow Rock Boogie’.The next two, formed one side of the 45, ‘My Name is Eddie’ has a ‘Blue Days Black Nights’ feel to it thanks to some exceptional guitar work from Stephane, which complements the pitch of Eddie’s voice.Al Ferrier’s ‘Blues Stop Knocking at my Door’ is next, and readers, I defy you to not enjoy this version!Some additional pace and punch next with ‘Rock Everybody’, originally by Leon and Carlos from 1957, which is in contrast to the more mellow timbre of ‘Please Give Me a Chance’.There’s a really catchy rhythm to this one, and some cool vocal harmonies during the chorus.I wasn’t familiar with this tune, but I’m glad I am now!

​Some events for you to check out, click on the links and you'll be taken to the relevant event page. This issue, being the first, is free for advertisers, we have picked some from around the scene. If you would like to join us to advertise in future issues, please get in touch for our rates. You will get your event out to our 21k plus viewers and readers

If you like what you see, help us keep it free by popping us a donation please using the button below. Thank you

Want to know what's going on and where? This is the site to visit, the Complete Rock n Roll Gig Guide. Click on the picture to be taken straight there, and plan your next gig.

The Atomic vintage festival July 2019

Sister Suzie

Atomic Vintage Festival Words and pictures by Andrew and June SmithComing off record setting temperatures, unbroken sunshine and a glorious July, surely bejesus, Atomic will finally have a fine weekend.Our survey said?‘Eee err’!Gawd what do they have to do, we wondered as the overnight Friday rain saw the temperature drop like a stone and catch out the vest, shorts and flip flop wearers outside of our hotel, a few miles away from Atomic.A few miles, bit too far to walk, but a decent base for us, and one you didn’t need a King’s ransom to stay at!It was one of those you get brekkie in with the price, in a room with all the other guests.Could’ve done without the guy who managed to everything loudly including sneezing violently all over the hash browns.‘Bless you’ someone said.How about blessing us, having to avoid the mucal discharge over the buffet!Atomic, if you don’t know, is a vintage festival that takes place at Sywell Aerodrome in Northamptonshire.Sywell itself, is a village and civil parish in the Borough of Wellingborough, Northamptonshire, England, and the name Sywell is thought to mean ‘seven wells’. The Aerodrome has been in existence since 1928, and expanded to its current form in ’99.There are three grass runways and one concrete, all weather runway.Also, on site, a museum and the fabulous art deco Aviator HotelThe Aviator Hotel is located on the outer area of Sywell Aerodrome, facilities include a 1930's Art Deco Bar and Restaurant which was formerly a Clubhouse and Officer's Mess, a Utility Room, Function Suites, Conference Rooms and an integral part of Atomic, Hangar One, and the Cirrus Suite.On the grassed area, the main marquee, bigger this year, and closed on three sides, which was just as well as the wind was abated by the canvas.Across from that, the ‘Truck Stage’, which hosted both musical and performance events.The ‘theme’ if you will, is the period of time between 1946 and 1962, so just after the war, and just before the mop-top invasion of the charts.The music style reflects this, with a variety of bands and DJs playing everything from Blues and R&B to Garage, from Western Swing and Rockabilly to Rock n Roll.We arrived on Saturday morning to a persistent rainfall and the dogged determination etched on the faces of the parking attendants in the field opposite the aerodrome.If anything, we’re all thankful that the field is such, that it drains well. Wristbands on, and a quick skid across the field to the main marquee.Interestingly this year the live acts were all ‘outside’ under canvas.Atomic has two marquees, the main one and the Truck stage.Most of what you will read here took place in the main marquee.

The Playboys

First band on, the Playboys, featuring sinistral Rob Glazerbrook on lead guitar and vocals, Wayne Hopkins on bass, Ricky McCann on drums and the ubiquitous Kenny Tomlinson blowing up a storm of sax.With this ace combination, you get a full sound, that resonated around the marquee for early enthusiasts.As the Playboys were backing Barrence Whitfield later in the day, they avoided doing his material that often appears in the set.Tracks like ‘Twenty One’ are just awesome and their cover of Jimmy Dell’s ’58 rocker ‘Late Miss Kate’ could’ve been written especially for them.‘C’mon boy’ yeah, don’t mess with them as they take on Peanuts Wilson’s ‘Cast Iron Arm’, with considerable ease.Harding ‘Hop’ Wilson, there’s a name to conjure with.If you didn’t recognise his name you’ll probably have heard ‘Rocking in the Cocanut Top’ (which is throwing my spellchecker for a loop).A really cool rocker this one, again ideal for the Playboys style, and if you heard it, like us you’d have loved it!Not many bands cover Mel Dorsey’s ‘Little Lil’, however it’s a style that brings Kenny’s sax blasting to the fore.Another rock out to mention ‘Wail Baby Wail’, a super version of Kid Thomas’ or Tommy Louis’ if you will, frantic vocal kicker on L.A.’s Muriel Records.‘Short Fat Ben’, ‘Lover’s Curse’ and ‘Henrietta’?Yes please.A really skilled set to open proceedings.

​Slideshow below, click on the images for full sized pic

Sister Suzie and the Right Band

Howay man!Some canny mint northern, (and not the least bit stereotypical on my part), rocking blues next from Sister Suzie and her Right Band.This is the third time we’ve seen this band, and the second in the marquee style environment, along with regularly listening to last year’s CD ‘Ain’t No Lady’ which ticks just about every box.The Right Band opened up with a few bars, then silence, before from backstage, and out of sight ‘I smell a rat baby’ rang out.Yes, the opening lines of Big Mama Thornton’s, or Young Jessie if you will, Lieber and Stoller classic ‘I Smell a Rat’, followed by Sister Suzie’s entrance.Short shorts and a matching top with stripy sunglasses and a blonde syrup, there’s many an eyebrow to raise.What followed was a treasure chest of rhythm and blues belters from the past and from the band’s own catalogue of original material. And when we talk ‘the past’, how about their version of ‘Sloppy Drunk’ then?Most recall the Jimmie Rogers’ Chess recording from ’53, but flip that number around, and you get Bumble Bee Slim singing the same song in 1935. And a corking version this outfit does too.From Sun Records, the Hayden Thompson composition from ’56 recorded by Rosco Gordon, ‘Cheese and Crackers’ got the Suzie treatment, as did Irma Thomas’ nudge-nudge refrain ‘You Can Have My Husband, But Please Don’t Mess With My Man’.Carol Fran’s ‘Melvyn’ on her ’59 Excello cut, is replaced by ‘I lost me keys.Howay man!’ on the Atomic stage.Her band, has the correct name for sure, with Matt Jackson on lead guitar, new(ish) on drums, Jason Smith, with Eddie Edwards also in the engine room on upright bass, and Al Nichols on sax.Add to that, the vocal Geordie sass of Suzie and you have a pretty potent combination, like on their own song ‘Ain’t No Lady’.All too quickly the set was done, though the crowd wanted more naturally.The encore of ‘Big Mistake’ is a top drawer original, blues bopper, delivered with such style as it could’ve been being played on the decks.A real beaut of a set from the Northumberland lass.

​Slideshow below, click on the images for full sized pic

The timings had kind of gone awry this particular afternoon, and the Kabooms from Spain had been delayed. A rush onto the stage and they were ready to go.The personnel are Matt Olivera – animated on vocals and rhythm guitar. El Lega, exceptional on lead guitar, Xavi Ruiz upright bass, and Berto Martínez - drums.Their opener was the pacey and punchy ‘Only Mine’, a burn up rockin track to set the stall out.The four piece also incorporated the sax skills of Spencer from Los Torontos, who were playing later in the weekend, although Matt cheekily mentioned that he didn’t like them.‘Black Days’ another thumpingly good tune featured, as did ‘Burn Down the House’.Here’s a curio for you, ‘La Mantequilla’, I’m pretty sure translates as ‘butter’, is basically the tune of ‘Move It’.As that’s as far as my Spanish goes, there you are.Check it out sometime.There’s always plenty of energy in a Kabooms show, if you just took ‘Johnny Rocket’ as a stand-alone example.A rip-roaring, classic slab of modern-day Rockabilly played in a style that is a delight.Good to hear that rattle along at Atomic.‘Do you want to hear a song in Spanish’ Matt asked rhetorically, as they showcased ‘Yo No Se’ (which translates as ‘I don’t know’) from the latest album, ‘Right Track, Wrong Way’.Also, from that release came the stroll beat of ‘Bigger Fish to Fry’.This was a hugely enthusiastic and dynamic performance and a show well worth waiting for.

​Slideshow below, click on the images for full sized pic

Next up, the guy with the natural voice that personifies the top digit on your record player’s volume button. Barrence Whitfield, (real name Barry White, so you can appreciate the name change, if you’re of our ‘vintage’) native of Florida and now living in New Jersey, is a spry sixty four year old, and looking dapper in his suit and dark glasses, he shook the sides of the marquee with the opening number ‘Bloody Mary’.

Backed here by the Playboys, who were spot on throughout, the show had that ‘sounds just like the record’ feel, and many who were there could attest, hearing ‘Bloody Mary’.How would you describe the vocals? I guess if you crossed the likes of Little Richard and Solomon Burke with some of the best blues shouters of the early fifties, you’d have a rough idea. The blues and soul amalgamation of ‘Madhouse’ has a slightly less desperate delivery, whilst ‘Georgia Slop’ picked it up again.Loved the earthy sound of ‘Big Mamou’ and Kenny Tomlinson’s sax work, complementing Rob Glazebrook on lead guitar.More mighty fine sax, as Big T Tyler’s ’57 Aladdin rocker ‘King Kong’ rang out.That was an absolute belter vocally and musically.Many were interested and amused in equal parts, to hear Barrence’s political view on the current administration in his own country, in the purest Anglo-Saxon, during the show.The second outing for ‘I Smell a Rat’ on that Saturday afternoon had the audience top tapping, as did Roscoe Gordon’s Sun tune ‘Let’s Get High’.For the full Barrence experience, it doesn’t get much better than ‘Stop Twisting My Arm’, which is a frenzied kicker of a song that got the loudest cheers from the crowd.A superb show was topped off by a reprise of ‘Bloody Mary’ for someone in the crowd who had missed it because, Barrence’s words ‘He’d gone for a p*ss’.Has he been here before? 😉.​

Sonny West

As the day turned to night and the rain continued to slant sideways across the field, the crowd stuck around for Sonny West’s show.Now this is ‘our’ Sonny West, not the ‘Rock Ola Ruby’ Sonny West, or Elvis’ body guard of the same name (now that would have been a coup!!).No this is the Mystery Man.If you’ve been around a while, you’ll recall years ago there he was, then he was gone, and now he’s back, if we can present a potted history.Decked out in blue, Sonny commanded the stage with his trusty orange Gretsch guitar and backing band of John Blackwell on bass and Jay Tubsman on drums.Together they made quite a sound, and let’s face it Sonny’s a master on the six strings.He made the resonance most make tuning a guitar up, sound first rate, just by turning the tuning pegs on the guitar and picking the strings.Yes it’s a ‘Big Bad Rhythm’ as he bounded around the stage leaning almost off of it into the crowd during the breaks.Favourites like ‘Anna Lee’, ‘Black Heart’ and from the ’92 album release ‘Relentless’ came ‘Darlene’, which is his own song and not to be confused with others of the same name.‘Twenty One Different Ways’ from the Wild Records catalogue was also a treat to hear.Make no bones about this show folks, it was the real deal, and had everything.Smashing end to the Saturday in the main marquee.​

Atomic dot….dot.Best tracks in the world ever ever to soak up your saturation for this Atomic, played by DJs were The Drifters ‘Whatcha Gonna Do’, Lou Graham’s ‘Wee Willy Brown’ and the Moonglows ‘Too Late’……Great DJs at Atomic, Jimmy Taylor on Saturday, for Sonny Anderson’s ‘Yes I’m Gonna Love You’ alone, and the three punch combination of Gary’s Red Hot n Blue, Be Bop Kaz and Sharky on Sunday presenting the best closing sets to Atomic that we can recall.Poor Boy Paul, Deano and Mr Jinx also need mentions in dispatches……Big up to Jimmy Gintrip for managing the Truck Stage……Everybody squelching about, mud splattered up to your knees at times, and the Weathersbees somehow managed to look pristine.I’m sure there must’ve been Elizabethan men casting their cloaks over puddles in front of their path, or they have hover-boots……..It was mentioned there was no Wall of Death at Atomic.Shouldn’t it be renamed ‘Wall of Mild Peril’ by now, health and safety and all that……Sharky’s party time end to Atomic with ‘Viva Las Vegas’ and the ensuing conga, featuring various band members rushing to join on the end…..Mae-hem Sunday, more of the same, with added water, just what we needed to settle the dust eh?We arrived and made tracks to the Truck Stage to catch up with Sharna Mae and the Mayhems.Sharna Mae all in yellow, is the vocalist, backed by Scott Brown on lead guitar, Danny Brown on bass and James Cook on drums.As a chilly audience gathered, so the temperature was raised by the band’s playlist, which began with a bang, with ‘Love Drunk’, a hard-hitting tune that caught the attention straight away.No instrument changes among the band this time, no duets, just straight-ahead Sharna-Mae.That was an original track, between them they write some pretty darn good material, but they do perform some covers as well. Wanda Jackson’s ‘Whirlpool’, Roxie Williams ‘Fifteen Seconds’ and Betty James’ stroll winner ‘A Little Mixed Up’.‘Suicide Girl’, there’s a title isn’t it?It’s an original song, but not as sinister as you might think.Well crafted lyrics and top drawer presentation.Similarly, the embittered lyrics of ‘Crazy Ex-Girlfriend’ that ended the set.Time for one more from the band, another inventive tune, ‘Sugar in the Tank’ which closed out a memorable show, featuring cool guitar solos, and excellent rhythms.

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Bombs awaaaaay.Zipping across the field to the main marquee, for the Hicksville Bombers.Dave Brown, Landon Filer and Paul Saunders on lead guitar, bass and drums respectively, make up the trio, who’ve been around since before Pontius was a Pilate.Lead singer Dave Brown premiered a white suit ensemble for the stage, just the ticket for a mud-soaked field.Whatever, here we go folks, hold on tight now.There’s now a barrowload of Bomber compositions that make up the set, like ‘One Night’, and the thundering ‘Low On Gas’.‘Danger Road’, not only the title of the latest Bomber release, but also on their ten-inch, which Dave kept waving about (oi, the record, get your minds out the gutter please).That’s a rockin’ tune as well folks.A bit of Nick Cave and the Bad Seeds next as the lads take on the Peaky Blinders theme tune of ‘Red Right Hand’.It’s not all punchy rockers, as the more genteel pace of ‘I’ve Changed My Mind’ slowed it down a bit.Adding some whizz again was the singalong that is ‘Prettiest Girl in Town’ and ‘Deal With The Devil’.All punctuated by Dave’s seamless guitar work while surveying the audience from the stage.The beat kept by Landon and Paul was spot on, forceful and rhythmic, best displayed on the cover of ‘Whole Lotta Rosie’ from 1956, Dave says…….! Classic Bombers set, concluding with ‘Goodbye Roger That, Over and Out’, also from the latest CD/10”.Top stuffSlideshow below, click on the images for full sized pic

More crowd favourites next with the Jive Romeros in their new white tuxedo jackets (see above comment).It was a little light on the ground peeps-wise due to the Jive Competition running concurrently, however those in already, were in for a treat.The now familiar line up of Martyn Clarke on vocals, backed by Zac Zdravkovic on lead guitar, Johnny Wallace blowing up a storm on sax, while keeping the beat are Ritchie Crabtree slapping the bass and Damon Claridge on drums, are a tight and well-rehearsed outfit.So, let’s get going with Boyd Bennett’s ‘Rockin’ up a Storm’, just the ticket for a Romeros set.They mix up the best of British with tracks from classic artists like Bill Haley.Some examples perhaps?Tony Crombie’s ‘Sticks and Stones’ followed by Bill Haley’s ‘Dipsy Doodle’, the Tommy Steel’s ‘Rock Around the Town’.Such catchy rhythms had the increasing numbers in the crowd bouncing with delight.If you haven’t heard their version of the King Brothers’ ‘Si Si Si’, you should put it on your bucket list.Great harmonies and musically flawless, a first among equals.Harmonies to the fore again as well, with ‘Does My Baby’.With the marquee now well populated and raucous, song after song brought loud cheers from the crowd.Snookie Lanson’s ‘Hey Stop (Let me off this bus)’, Bill Haley’s ‘Tonight’s the Night’ and Tommy’s ‘Two Eyes’.With the multiple namecheck that is ‘I Still Love You All’ ending the set, it was clear they weren’t going to get off that easily.The encore was a treat, Art Baxter’s ‘Dixieland Rock n Roll’, sung by a guy who supports Burton Albion 😉.MC Russ Sear poked his head around the corner of backstage curtain, and was immediately ‘encouraged’ to go back again by the very vocal crowd, ensuring we had a second encore, this time ‘Stop The World’.The Jive Romeros are an accomplished act, that are a constant pleasure to see and hear, and this show was up there with their best.

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With the day wearing on into early evening, making a return to Atomic were Paul Ansell’s Number Nine.Paul in his trademark Stetson, sported a snazzy white jacket dressed with musical scores embroidered down the sleeves, took to the stage with a slightly different Number Nine from the last time we saw them play, but as always, on the money sound wise.Starting off the show at a steady pace including ‘Train of Love’, the audience were well into the band from the start, calling for classics from the start.It wouldn’t be a Number Nine set without ‘It Ain’t Right’ for example.Similarly, it only took a few chords on the acoustic guitar that got the crowd going, for Iggy Pop’s ’77 album cut ‘The Passenger’ (released as a single over twenty years later) and the recognisable riffs from Jimi Hendrix’s ‘Hey Joe’.Another fave with the crowd, the cover of Don Gibson’s ‘Sea of Heartbreak’, and the rambling sound of Gordon Lightfoot’s ‘Early Morning Rain’.Good to see Mary Ann performing ‘Sweet and Easy’ as a duet too.And there was also time for a couple of Elvis tracks too as well as Bullmoose Jackson’s ‘Big Ten Inch’, with a suitable parental guidance announcement.All massively appreciated by the throng. ​

Almost unbelievably we are in the marquee for the final act there. Los Torontos, from Spain looking very smart in their blue cardis and slim black ties, had a sort of collegiate look about them. Never judge a book by the cover, however with no experience of the band before Atomic, I wondered if they would have a late 50’s early 60’s vibe. The band are Agustí Burriel (Velvet Candles/Four Candles) on vocals and rhythm guitar, Spencer Evoy (MFC Chicken) on vocals and sax making his second appearance on stage, and members of The Kabooms

Next time:- We interview Bob Plumb, also known as Rockhouse Bob, a feature on the Rock n Roll scene since, well, forever.The interview also includes his account of meeting Gene Vincent on his 1969 tour at Heathrow Airport.Don’t miss it.We also will have a full review of Rock Ridge Rumble, with photographs and who knows, maybe the odd video.New releases reviewed from Flat Top Mark’s Record label as well as the latest release from Bamboozle, and more.Notice to advertisers:-This issue is free to everyone, if you would like to run an advert with us, and have your event open to our 20,000 + viewers per month, drop us a line to bettajive@aol.com for details.If you have a company that makes and sells clothing or accessories, or you run a record label or shop, you can advertise with us as well.We will run an article on your company and services as well with your advert.We will be emailing many of you in this regard too.

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